Monterey Bay Aquarium
tannertan36
pixel skylines
occasionally subtle
noise dept.
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The Stonewall Inn
let's talk about Bridgerton tea, my ask is open
Cookie Run:Kingdom Official!
Origami Around
Fai_Ryy
Not today Justin
blake kathryn
Aqua Utopia｜海の底で記憶を紡ぐ
Noah Kahan
official daine visual archive
★
EXPECTATIONS
Product Placement
macklin celebrini has autism
seen from Malaysia
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seen from Japan
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8. Raime - “Passed Over Trail”
"what might happen if a gramophone needle was put onto the curvature of the skull; what sound might emerge?”
(Aura Satz quoted by Philip Clark. The Wire. September 2010. pp 22)
The Thirty Best Tracks of 2012
3. Tabu — dir. Miguel Gomes (Portugal)
Divided into a Milton-channeling diptych–“Lost Paradise” and “Paradise”–Tabu sketches the colonialist unconscious in a switching of present to past tenses, in which the principal narrative is frequently under threat by subaltern insertions and subtexts ...
We are left, as Freud would have put it, with a collective and wounded neurosis that disguises itself as a nostalgia “flee[ing] from a dissatisfying reality to a more pleasurable world of phantasy.”
The Twelve Best Films of 2012
2. Blues Control -- “Iron Pigs”
“Deep in the redundant junk DNA of the blues, between the reptilian throwbacks and vegetable remnants, lurks the mutation that gives life to Blues Control.” (Nick Southgate. The Wire. July 2007. pp 41)
The Thirty Best Tracks of 2012
Hydra Magazine’s Thirty Best Tracks of 2012, featuring music from Holy Other, Tame Impala, Frank Ocean, Jim Jarmusch, CHVRCHES, Nite Jewel, and others.
5. Oslo, August 31st — dir. Joachim Trier (Norway)
Joachim Trier’s Oslo, August 31st manages to corral the sentiments of a 21st century generation of young adults in contention with the ressentiment that typified Kierkegaard’s description of the “present age”:
“…while a passionate age storms ahead setting up new things and tearing down old, raising and demolishing as it goes, a reflective and passionless age does exactly the contrary; it hinders and stifles all action; it levels. At its maximum the leveling process is a deathly silence in which one can hear one’s own heart beat, a silence which nothing can pierce, in which everything is engulfed, powerless to resist.”
Trier’s film beautifully conveys the “deathly silence” and empty moments that beset the existence of a young man who finds himself suddenly superfluous to everything surrounding him.
The Twelve Best Films of 2012
Hydra Magazine’s Twelve Best Films of 2012, featuring films from the Philippines, UK, USA, France, South Korea, Iran, Portugal, Norway, and Romania.
23. Cop City - “Gay Anniversary”
“The riff snaps back on itself again and again – Orcutt describes his rhythmic style as ‘hiccupping’ – while handcuffs of barbed notes bounce and scream around a tonal center, as if unable to escape its gravitational hold.” (Bill Orcutt quoted by David Keenan. The Wire. October 2011. pp 30)
The Thirty Best Tracks of 2012
Hydra Magazine’s Thirty Best Tracks of 2012, featuring music from Holy Other, Tame Impala, Frank Ocean, Jim Jarmusch, CHVRCHES, Nite Jewel, and others.
How can I submit work to your publication?
pitches, articles, & writing samples can be submitted to [email protected]
Hydra editor Edgar Garcia in the LA Review of Books
Holy Motors — dir. Leos Carax (France)
In Leos Carax’s Holy Motors, the disappearance of the mechanism of cinema assumes the scale and nature of epic tragicomedy. No longer merely a plasmatic machine of the industrial age, cinema has become a system of beliefs and practices–a borderline religion of the image–that has permanently bled into the fabric of late capitalist societies.
Cinema has bled into the way we think, or speak, or perform with others. Regardless of whether Denis Lavant’s character (named “Monsieur Oscar,” who in turn acts as 10 or so different personae) really is an angel-like “life actor” who slips into and out of divinely fabricated situations with a predestined referentiality authored by some kind of higher directorial demiurge–or if he is just an old man (Carax himself, wandering in his pajamas, in search of the mystical theater that sits at the back of his mind) dreaming of the cinema as a kind of afterlife or heaven in which you’re reborn into different characters dreamt up by a network of already existent films–Lavant deftly, maniacally embodies the kind of behavioral “structuring structures” which cinema has permanently infected us with. We can’t help but desire to want our lives to be played with cinematic sublimation (even if it means dying on the screen in front of an unseen million). Genres shape the way we instinctively react to events and situations because cinema has developed a whole system of affect that we rather unconsciously employ to mediate our connection to a complex (and constantly complexifying) 21c life.
The Twelve Best Films of 2012
Hydra Magazine’s Twelve Best Films of 2012, featuring films from the Philippines, UK, USA, France, South Korea, Iran, Portugal, Norway, and Romania.
3. Death Grips - “Double Helix”
“The beats are ramshackle Rube Goldberg contraptions held together by masking tape and rubber bands." (Peter Shapiro. The Wire. November 2002. pp 29)
The Thirty Best Tracks of 2012
Hydra Magazine's Thirty Best Tracks of 2012, featuring music from Holy Other, Tame Impala, Frank Ocean, Jim Jarmusch, CHVRCHES, Nite Jewel, and others.
Bruce Willis returning to a fragment of his own memory. Bruce Willis pursuing this inexorable fragment of memory from his childhood, retroactively shaping its life and truth, conferring meaning onto it only once maturation has properly endured its course. Bruce Willis struggling to touch on the secret hidden beneath the fragment, to reveal some truth buried under an appearance that trembles violently, an appearance of the uncanny. Always to catastrophic effect.
Trauma, Love, and Time Travel
Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers…
G.K. Chesterton
Geniuses, Madmen, and Murderers: David Foster Wallace, Ted Kaczynski, and the Inescapability of Reason
Resurrection from the death that the photographic image inscribes on the subject doomed to terminal immobility. Resurrection from the still image through the mobile image; a revival similar to that of Tim Finnegan, in the ballad bearing his name, from a death caused by drunkenness, through the sacred spirit-restoring power of a spilled drop of whiskey. The Image kills (because it intoxicates, generates illusion)—but it also resurrects.
A Pentagram for Conjuring Hollis Frampton
Notes taken on the occasion of watching the Criterion Collection's release of "A Hollis Frampton Odyssey"
Still from "Poetic Justice" (1972)
A Pentagram for Conjuring Hollis Frampton
Unresting hydras wrought of bloody light Dip to the ocean’s phosphorescent caves.
A Wine of Wizardry by George Sterling
There are said to be certain Mexican shamans whose magic is based on a performance of the crossroads, wherein the act of situating themselves in a crisis of choice between multiple, indeterminate directional possibilities summons an intense cosmic energy with which they can change their identity at will. Personal transformation is brought on through agonistic self-splitting and animistic metamorphosis. Ohmaxac. Yoruba cosmology recognizes a similar energy in the god Eshu. Likewise, the blues musician Robert Johnson fell to his knees at a crossroad, supplicating to his lord after a Faustian pact with the devil. This is precisely analogous to the state in which American poetry finds itself today: squinting to see conclusively in every murky direction.
Edgar Garcia, Review: Poetry’s Fork, My Account of Some Experiments in Poetry Today (Make Magazine)
OUT OF THE PAINCAVE
El-P finds a revelation within the destruction on Cancer 4 Cure
Wrote something on El-P’s new record. Some choice interview cuts in the mix too, namely, El-P introduces his idea of paincave—that unfortunate experience in which smoking too much weed turns on you. That was supposed to be the title of the second Company Flow album that never was.
